Dark brown, rectangular, woven wool poncho with a neck slit in the centre. Constructed of two rectangular panels sewn together in the middle. The stitch that connects the panels is a zigzag made up of long sections of red, turquoise, and purple yarn. Weave texture is tight with two horizontal red stripes across the top and bottom of each of the front and back rectangular panels. The red stripes are about 6 cm wide and have a dark blue line through the centre. The outer edge is a separately woven red strip with a red yarn fringe, stitched on with red yarn.

Striped, rectangular, woven wool poncho with a neck slit in the centre. Constructed of two rectangular panels sewn together in the middle. Weave texture is tight and un-patterned, with decoration consisting of a series of horizontal lines of varying widths in dark red, dark blue, black, orange, light beige, dark brown, yellow-brown, and light brown. The outer edge is a separately woven strip with red, orange, and light brown stripes, stitched on with light beige and red string. The edge has a short, uneven fringe made of red, orange, brown, and light beige fibres. Corners are rounded by folding back.

Small knitted cap (chullu) made of handspun sheep’s wool(?). A thin row in dark blue forms the very edge of the border, followed by two rows of checkboard patterning against a beige background in red and dark blue respectively. The main design of the cap has colourful horizontal bands with beige geometric and bird motifs separated by thin yellow rows. The background of the bands are split into three sections starting with a red or dark orange stripe on the bottom half, a hot pink stripe in the middle of the band, and the top section which alternates between dark blue and olive green. The background of the band at the very top of the cap is solid red and ends in a small tail.

A pair of protective sleeves (mangas, maquitas) knitted in sheep’s wool and dyed with aniline dyes. The geometric design features a black and red border at the top, followed by a twice repeating pattern of horizontal multicoloured bands, a row of wave motifs, and a black and white band with bird and fox designs, separated by an additional row of waves across the horizontal centre. The multicoloured bands have rows of purple with orange, red with green, dark red and yellow, greenish-brown with magenta, and royal blue with red. The waves are worked in in orange against purple, greenish-brown against dark red, and magenta against green. The sleeves taper to an orange, purple, black, and dark red border at the wrist end.

Wasa watana (hair tie). A braided hair tie made in the combined techniques of oblique interlacing (brown threads) and oblique twining (white and red). One end of the hair tie has a tassel made of 3 bands (1 intersecting warp), but the main band just above the other tassel is broken and sewn back together. The other end of the hair tie has a tassel made of 4 bands (1 intersecting warp and one sewn on band).

Wasa watana (hair tie). A hair tie that is made in a mixture of techniques: oblique interlaced bands with zigzag embroidery for the main band and woven bands made in complementary warp weave that intersect with the main band. Each end has two intersecting bands, and two of those also have intersecting bands. Each end has three tassels made of three bands. Most of the secondary intersecting bands are braided. Combination of techniques used: braiding, weaving and embroidery.

Wasa watana (hair tie) woven in a complementary warp weave. Tassels formed by adding intersecting warps that are woven as separate bands. Warp fringes. Each end has one intersecting warp band, which makes a tassel with three woven bands. Alpaca and sheep’s wool, finely spun.

Wasa watana (hair tie) woven in a complementary warp weave. Tassels formed by intersecting warps that are woven as separate bands. The added bands also have intersecting warps that are woven, but the two ends do not have identical numbers of bands. Warp fringes. Alpaca and sheep’s wool fibre. Spinning is fine and hard twist.

Wasa watana (hair tie) woven in a complementary warp weave. Tassels formed by adding a single intersecting warp band to each end. Small white and silver beads, threaded on the weft before weaving, line the edges of the main band and the intersecting warp bands. Warp fringes. Woven of commercially spun yarn, probably synthetic or a blend.

Wasa watana (hair tie) woven in a complementary warp weave. Tassels formed by intersecting warps that are woven as separate bands. Warp fringes. Alpaca and sheep’s wool, very finely spun. Each end has 4 intersecting warp bands.